A kind of a "dangerous supplement", marked, scarred on a body, post-orgasmically, always, already in anticipation of (a) crisis OR for a desert avec 'agape'. Mindb(l)ogg(l)ing Noise. "Avalanche, would you share my last pursuit?" (Baudelaire)

Wednesday, February 04, 2004

oi patates tis monaxias

The first real grip I ever got on things
Was when I learned the art of pedalling
(By hand) a bike turned upside down, and drove
Its back wheel preternaturally fast.
I loved the disappearance of the spokes,
The way the space between the hub and rim
Hummed with transparency. If you threw
A potato into it, the hooped air
Spun mush and drizzle back into your face;
If you touched it with a straw, the straw frittered.
Something about the way those pedal treads
Worked very palpably at first against you
And then began to sweep your hand ahead
Into a new momentum - that all entered me
Like an access of free power, as if belief
Caught up and spun the objects of belief
In an orbit coterminous with longing.

Part I from "Wheels within Wheels" - Seamus Heaney (epitelous)

Christos: Solitude is a spatial notion (an external world) which the protagonists (human bodies) are part of.

simfono dame. solitude can be felt through space, oi mono o adeios topos, alla jai to gefiri tou tseliot (kypriaka: cheliot) pou en oulloi pintomeni messti monaxian tous. i monaxia erkete pou exw jai pou mesa, 'entered me' ma jinos arxisen to 'new momentum'.

Alla lalei to jai o christos touto: Solitude, like silence, is often a safe place to be. Solitude conceived as silence is an interesting analogy for silence (like solitude) is always around: it exists inside and around us, its existence is everything else’s inexistence and it often seems inherited in us – everyone carries with them a silence.

Gerontion: "I am an old man, / A dull head among windy spaces... I have no ghosts, / An old man in a draughty house / Under a windy knob... I have lost my sight, smell, hearing, taste and touch: How should I use them for your closer contact?"

Nothing rose to the occasion after that
Until, in a circus ring, drumrolled and spotlit,
Cowgirls wheeled in, each one immaculate
At the still centre of a lariat.
Perpetuum mobile. Sheer pirouette.
Tumblers. Jongleurs. Ring-a-rosies. Stet!

- Heaney (yet again)

Stamata! Stet! - Stetson! / You who were with me in the ships at Mylae! O Heaney stamata? teliwnei?o Eliot teleiwnei potte tou? Shantih. "The Peace which passeth understanding" lalei. Pamen pisw pale, xanathkiavazaoume, reread, resee (=) revise, kai san miloumen kamnoumen touto pou lalei jai o Levenson: The poem develops not by resolving conflicts but by enlarging contexts, by establishing relations between contexts, by situating motifs within an increasingly elaborate set of cultural parallels – by widening . We widen, we explore, there are no limitations, no Stet.

But enough was not enough. Who ever saw
The limit in the given anyhow?

- Part II

On the side (mian merida patates): en simfonw me to "I" sou christo, pou xereis oti en i marie pou lalei oti pai 'south in the winter'? pws mboreis na laleis oti iparxoun 'protagonists' pou tin stigmi pou en pistefkeis ston 'eauto' (etsi mou ipes mian nixta stin new)?
i giagia sou en eshi lathos.

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